武满彻中期作品研究

发布时间：2018-06-26 02:09

本文选题：武满彻 + 中期作品　；参考：《上海音乐学院》2007年博士论文

【摘要】： 本论文的研究对象是日本当代最具国际影响力的作曲家武满彻(1930-1996)的中期音乐创作(1958-1977)。武满彻的中期创作所经历的约二十年时间，正是西方音乐界经过战后十年的恢复和反思，进入先锋音乐创作的鼎盛时期，各种创作观念、技法对日本音乐界产生了极大的影响，此时的武满彻已经获得一定的国际声誉，与西方音乐界的接触和交流十分频繁和深入，他的创作以自身独特的风格汇入到这一运动中。此外，武满彻中期创作还经历了“凯奇冲击”的强烈影响和对自身文化的“重新发现”和认识，促使他主动和深入地思考日本传统音乐的美学和吸收传统音乐元素，并反映在创作实践中。鉴于目前国外对武满彻创作的总体风格和观念特征的研究已获得充分成果，对于单部作品或有关联的数首作品的研究也较常见，但是分期研究还很少见，，尤其是聚焦于技法特征的研究更是几近阙如，因而，本论文试图在此方面做些尝试。本文选题的意义在于，通过对武满彻作品的深入研究，有益于更为全面和深入地理解现代音乐的创作观念和技法；本研究亦从一个侧面反映了西方现代音乐创作观念和技法对日本现代音乐的影响，有益于更进一步地研究日本现代音乐创作的整体现状；通过本研究亦可为我们了解与中国同为东方民族的日本，在面临西方音乐观念和技法的冲击和影响下，如何在创作中保持、渗透、融合自身民族的文化因素；从实践的意义上，通过对武满彻中期音乐创作中所体现出的观念、所运用的技法的理解，可以为自己的创作提供些许借鉴。论文的主旨在于：就武满彻中期作品中的创作技法，从不同的方面(音高、音色、织体、节奏、时间结构等等)进行描述、分析、梳理、归纳、总结，从技法层面的特征揭示其中期创作的风格倾向，在西方先锋音乐发展的整体背景中探讨武满彻中期创作观念中的西方因素、先锋因素、东方因素以及它们在创作中的融合体现。全文由绪论、五章正文和结语组成。绪论部分，对目前国内外武满彻研究的现状进行概要介绍，对其创作的总体特征进行归纳并探讨了武满彻的创作分期问题：第一章，主要讨论西方音乐的传入对日本现代音乐创作的影响及日本创作界在二十世纪上半叶的基本情况，为讨论武满彻的创作提供一定的历史背景，同时回顾了武满彻的早期生涯和创作：第二章，概括论述了多重影响下的武满彻中期创作，包括对序列音乐的尝试、凯奇音乐思想的影响、对日本音乐文化的反思和“前卫”音乐观念与技法的影响；第三章，主要讨论音高组织问题，揭示武满彻在作品的音高组织方面的技法特征；第四章，梳理武满彻在音色、音响织体方面的基本特征；第五章，聚焦于武满彻作品中节奏、节拍即音乐的时间组织和整体结构方面的处理特征；最后，在结语部分，主要讨论了武满彻独特的创作观念与作品形态及技法的关系，在观念层面上对本文的论述进行概要归纳和引申。
[Abstract]:The research object of this paper is the medium-term music creation (1958-1977) of the most international influence composer (1930-1996) of the contemporary Japanese composer (1958-1977). About twenty years of the mid-term creation of Wu Cheng, it was the recovery and reflection of the western music world after the post-war years, into the heyday of the pioneering music creation, and the various creative ideas. The technique has a great influence on the Japanese music world. At this time, Wu chuetcher has gained a certain international reputation, and the contacts and exchanges with the western music circles are very frequent and deep, and his creation is brought into this movement in his own unique style. In addition, Toru Takemitsu's medium-term creation has also experienced the strong influence and the right of "Cage shock". The "rediscovery" and understanding of his own culture prompted him to think deeply and actively about the aesthetics of traditional Japanese music and the absorption of the elements of traditional music, and reflected in his creative practice.
In view of the current research on the overall style and the concept characteristics of Toru Takemitsu's creation, the research on the single work or the related first works is more common, but the research on the stages is rare, especially the research focused on the characteristics of the techniques. Therefore, this thesis tries to make some attempts in this field. The significance of this article is that through the in-depth study of Toru Takemitsu's works, it is beneficial to a more comprehensive and in-depth understanding of the creative ideas and techniques of modern music. This study also reflects the impact of modern western music creation ideas and techniques on Modern Japanese music from one side, and is beneficial to further study the modern Japanese sound. The whole present situation of music creation; through this study, we can also understand how to maintain, infiltrate, and integrate the cultural factors of its own nation under the impact and influence of western music concepts and techniques in the face of the impact and influence of Western musical ideas and techniques. The understanding of the techniques used can provide some reference for his creation.
The main purpose of this paper is to describe, analyze, comb, sum up, sum up, analyze, summarize and summarize the style of the period from the different aspects (pitch, tone, rhythm, time structure and so on) in the mid-term works of Wu Cheng, and discuss the style of the creation from the characteristics of the technical level, and discuss the full in the whole background of the development of Western avant-garde music. The western factors, vanguard factors, Oriental factors and their integration in creation are the embodiment of the creative concept.
The full text is composed of the introduction, the five chapter and the conclusion. The introduction gives a brief introduction to the current status of the full study at home and abroad, summarizes the general characteristics of his creation and discusses the issue of the creative stages of Wu Cheng: Chapter 1, mainly discussing the influence of the introduction of western music on the creation of modern Japanese music and the creation of Japanese music. The basic situation in the first half of the twentieth Century provides a certain historical background for the discussion of Wu - man - Cher's creation. At the same time, it reviews the early career and creation of Wu - Cher - Cher: second chapters, a summary of the mid-term creation under the multiple effects, including the attempt at sequence music, the influence of Cage's music thought, and the Anti Japanese music culture. The influence of thought and "avant-garde" music ideas and techniques; the third chapter mainly discusses the problem of the organization of pitch, reveals the technical features of Wu Man chin in the pitch organization of the works; the fourth chapter, combs the basic characteristics of Toru Takemitsu in the tone color and the sound fabric; the fifth chapter focuses on the rhythm of Toru Takemitsu's works, and the time group of the rhythm is the music. In the concluding part, the paper mainly discusses the relationship between the unique creative ideas and the form and techniques of the works, and summarizes and extends the discussion of this article in the conceptual level.
【学位授予单位】：上海音乐学院
【学位级别】：博士
【学位授予年份】：2007
【分类号】：J614

【引证文献】